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Performing Archive
Main Menu
Visualizing the “Vanishing Race”: the photogravures of Edward S. Curtis
Front Page for Visualizing the "Vanishing Race" path
Curtis' Image and Life: The Network of The North American Indian, Inc.
An experiment with data visualization approach to understand and contextualize Curtis' images and his life
Media, Technology and Mediations
Curtis's Technology, Relationships to Media and Style
Contextualizing Curtis, The North American Indian, and Race
the collection of essays from the contributors
Consulting with Tribes as Part of Archive Development
Introduction to Consulting with Tribes by Ulia Gosart
Contributing Archives
Information on how to participate in Performing Archive
Browsing the Media
A path of paths that allow users to cut through the collection in a variety of ways.
Acknowledgements and Project Information
Project Network
Jacqueline Wernimont
bce78f60db1628727fc0b905ad2512506798cac8
David J. Kim
18723eee6e5a79c8d8823c02b7b02cb2319ee0f1
Stephan Schonberg
23744229577bdc62e9a8c09d3492541be754e1ef
Amy Borsuk
c533a79d33d48cbf428e1160c2edc0b38c50db19
Beatrice Schuster
a02047525b31e94c1336b01e99d7f4f758870500
Heather Blackmore
d0a2bf9f2053b3c0505d20108092251fc75010bf
Ulia Gosart (Popova)
67c984897e6357dbeeac6a13141c0defe5ef3403
Hupa war-chief
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Erik Loyer
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Erik Loyer
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This page has paths:
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Erik Loyer
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Vol. 13 Illustrations
Erik Loyer
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Media Gallery
structured_gallery
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Erik Loyer
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Erik Loyer
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Hupa
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Erik Loyer
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Contents of this path:
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Karok baskets
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The basketry of the Karok does not differ from that of the Hupa and the Yurok. The process is always twining, and the usual materials are hazel rod for the warp, roots of the digger or the yellow pine for the weft, and Xerophyllum grass for white overlay, bark of the maidenhair fern for black, and fibres from the stem of Woodwardia fern, dyed in alder-bark juice in the mouth of the workwoman, for red. Represented in the plate are the receptacle for the storage of seeds and nuts, the burden-basket, the winnowing tray, various sizes of mush-baskets and food containers, and the cradle-basket.
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Hupa trout-trap
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Hupa jumping dance costume
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The Jumping dance was an annual ceremony for averting pestilence. The head-dress worn by the dancers was a wide band of deerskin with rows of red woodpecker crests and a narrow edging of white deer-hair sewn on it. A deerskin robe was worn as a kilt, and each performer displayed all the shells and beads he possessed or could borrow. In the right hand was carried a straw-stuffed cylinder with a slit-like opening from end to end, an object the significance of which is unknown to the modern Hupa.
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Fishing from canoe - Hupa
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Because of the dearth of redwood in their territory, the Hupa purchased all their canoes from the neighboring Yurok.
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Hupa mother and child
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Hupa woman
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It would be difficult to find a better type of Hupa female physiognomy.
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Salmon stream
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A Hupa youth is waiting with poised spear for the shadowy outline of a salmon lurking in a quiet pool and gathering its strength for a dash through a tiny cascade.
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Hupa fisherman
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The fisherman has just made a thrust with his double-pointed spear.
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Yurok drummer
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The drum of deerskin stretched over a wooden frame was not aboriginal with the Yurok, but was introduced in imitation of drums seen in the possession of the garrison stationed among the Hupa from 1855 to 1892.
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Fish-weir across Trinity River - Hupa
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Each summer a substantial structure of this kind is thrown across the river, the southern and the northern divisions of the tribe alternating. The weir remains in place until the spring freshets carry it away. A fisherman stands on each of several platforms erected below an equal number of openings in the weir, and lowers and draws his dip-net at random. As the construction of a weir is a communal undertaking, the catch is divided each evening according to the requirements of the various families.
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Fishing platform on Trinity River - Hupa
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As the run of spring salmon occurs at a season when the river is too high for the construction of a weir, they are taken in dip-nets from platforms erected above favorable eddies.
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Principal female shaman of the Hupa
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Many Hupa shamans were women, and among their neighbors, the Yurok and the Karok, as well as among the more distant Wiyot on the coast, male shamans were rare. Hupa shamans acquired the power to cure disease by dreaming and dancing. They were credited with the ability to inflict mysterious sickness by sorcery, and only they could relieve the victim of such magic.
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Hupa woman in primitive costume
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This is an excellent example of the gala costume of Hupa women. The deerskin skirt is worn about the hips and meets in front, where the opening is covered by a similar garment. Both are fringed and heavily beaded, and the strands of the apron are ornamented with the shells of pine-nuts.
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Smoky day at the Sugar Bowl - Hupa
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For the spring salmon-fishing season the southern division of the Hupa assembled at Sugar Bowl rapids of Trinity river, near the upper end of Hoopa valley. Each fishing station was the hereditary possession of some family. Men who owned no station begged the use of one from those who were either weary of fishing or had enough salmon for their immediate needs.
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Hupa man
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Hupa woman
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Hupa baskets
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Hupa purses and money
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Hupa house
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Hupa sweat-house
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Sticks used in Hupa guessing game
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Hupa matron
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Hupa woman's dress
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Hupa basket and purses
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Hupa fisherman
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Hupa female shaman
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White deerskin dance costume - Hupa
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Dancer with black deer effigy - Hupa
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Obsidian bearer, White deerskin dance - Hupa
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Modern Hupa house
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Costume of the obsidian-bearer - Hupa
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Dip-netting at the sugar bowl - Hupa
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Watching for salmon - Hupa
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Hupa canoe
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Hupa salmon-fishing
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Hupa war-chief
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